Tag: Open Mike Eagle

2017 was a staggeringly balanced year in terms of memorable musical output. To honor that consistency, the typical run of 17 songs will be complemented by a list — in no particular order — of 83 other great songs to find release throughout the year. As usual, the “best” tag simply acts as shorthand for the music I was fortunate enough to consume from January through December, which had an individual song list that tallied well into the quadruple digits.

Names that are already familiar to year-end lists on this publication reside comfortably alongside artists who are still looking to make a larger impression. Non-singles are included with some of the year’s strongest advance tracks and songs that tip towards hardcore rub shoulders with some quiet basement pop numbers. There’s a lot to contemplate — both inside and outside of the top 17 selections — and even more to celebrate.

These are the 17 best songs of 2017.

Enjoy.

Great Grandpa – Teen Challenge

One of the great album openers of 2017, “Teen Challenge” reintroduced a noticeably more explosive version of Great Grandpa that wasn’t afraid of hairpin turns or controlled catharsis. From the outset of “Teen Challenge” the band is swinging for the fences but it’s not until the enormous final section where something deeply impressive transforms into something legitimately inspiring. It’s a celebratory song that comes loaded with conviction and is delivered with the type of determination that refuses to be held back.

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Mo Troper – Your Brand

One of this site’s picks for last year’s Album of the Year honors, Mo Troper returned this year with two records. One, a collection of older material reworked for Troper’s current band, the other, an inspired effort of new material that saw Troper expanding his ambitions to legitimately unexpected degrees. The elevation of both songwriting and production on Exposure & Responseis particularly evident in career highlight “Your Brand“, which finds Troper turning his gaze towards the brand-obsessed inhabitants of social media, people who treat themselves as corporate entities and flaunt varying levels of entitlement.

Occasionally, those same denizens find the levels between tongue-in-cheek mockery and unwitting sincerity blurring into an unrecognizable definition. It’s a richly-deserved skewering that’s shot through with a resigned understanding. The tasteful string and brass arrangements that adorn “Your Brand” send the song to euphoric heights even as Troper is weighed down in the bog of a tragicomic reality. It’s a masterful outing that positions Troper as one of the most promising pop songwriters of this generation.

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Cende – What I Want

Cende‘s first and final full-length effort was an enticing effort headlined by a slew of singles that all warranted consideration for placement on this list (and earned individual write-ups). None of them wound up impressing quite as deeply as the song boasting the record’s most challenging — and towering — arrangement, the Greta Kline-featuring “What I Want“. Falsettos, a lilting string arrangement, and an incendiary bridge showed off Cende’s formidable range, tilting from something approaching the saccharine to a vicious instrumental outburst at the click of a hi-hat.

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Charly Bliss – Westermarck

Few bands have earned as much attention and praise from this site as Charly Bliss over its four-year existence and it was heartening to watch the band break out in 2017 with one of the year’s most affirming releases in Guppy. While every track on that record is noteworthy for one reason or another, it was “Westermarck” that kept revealing deeper facets of itself. A rousing meditation on uncertainty couched in an unapologetic joy of simply being alive, the song became an unlikely anthem for anyone questioning their partner’s motives (especially in significantly skewed familial setting).

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Common Holly – Nothing

Tender, sparse, and wrought with longing, Common Holly‘s “Nothing” proves how adequately minimalist formulas can maximize difficult emotions. It’s a bare-bones run through a personal affirmation, rendering something that appears delicate at first blush searing at second glance. More than that, “Nothing” introduces Common Holly as a deceptively powerful artist with the capacity to deliver breathtaking turns in the quietest rooms.

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Weaves – Puddle

Riding a wave of critical adulation and having earned the respect of their contemporaries, Weaves returned in 2017 with Wide Open, an aptly named run that they billed as their Americana effort. While the record takes a lot of notable cues from that genre, the band’s wildly erratic, genre-obliterating core remained intact with the barn-burning closer “Puddle” acting as the clearest indication that the band’s unpredictable firepower was still fully intact.

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Fred Thomas – Misremembered

Following a record as momentous as All Are Saved will always be a difficult task but to surpass high expectations in the way that Fred Thomas managed with Changeris a rarity. From the record’s dynamic opening track, Thomas proves to be more focused than ever, spinning barbed tapestries of lived-in realism with unmatched verve. “Misremembered” isn’t just a testament to Thomas’ lyricism, either, the fiery music that serves as its backdrop propelling it to stratospheric heights.

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Big Thief – Breathe In My Lungs

A lot of outlets gave Big Thief‘s breathtaking “Mary” a deserving amount of love, ranking both the song — and the record it resides — as the year’s best. Meanwhile, the band’s devastating B-side, “Breathe In My Lungs”, flew under the radar. As is often the case with bands as prolific and talented as Big Thief, “Breathe In My Lungs” is so much more than just a castaway or afterthought, it’s one of their most heartrending numbers, expertly using the considerable weight of guitarist/vocalist Adrianne Lenker’s singular voice to turn in some of the year’s most unforgettably damaged romanticism.

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Cayetana – Bus Ticket

2017 saw a very large handful of bands taking the next step in their evolution but few seemed to take their strides forward with as much assurance as Cayetana, who zeroed in on what’s long been the crux of their songwriting: mental health. No song conveyed this more than their staggering “Bus Ticket“, which saw the band slowing the tempo and accelerating the force the trio’s always put into their compositions. Managing to be direct and atmospheric simultaneously, “Bus Ticket” stands proudly as a career high for a band that’s found their voice.

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Yucky Duster – Elementary School Dropout

One of the year’s most unabashedly exuberant records came in the form of Yucky Duster‘s latest EP, Duster’s Lament. Headlined by the effusive “Elementary School Dropout”, the band offered up an irresistible slice of joyful basement pop that grounded it’s more playful elements with some effective self-deprecation. Expertly toeing the balance between the light and the bleak, “Elementary School Dropout” stood out as 3 of 2017’s most outright fun minutes in a year where that sort of thing was desperately needed.

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Strange Relations – Say You

One of the boldest re-introductions of 2017 came by way of Strange Relations‘ enormously confident Editorial You, which was teeming with memorable bursts of icy post-punk that saw the band considerably elevating their grasp on composition. One of the most significant individual outings for the project comes on the record’s second track, “Say You“, which conjures up a steely demeanor and enhances it with fiercely jagged musical interplay. Both minimalist and towering, it’s an obscenely impressive song from a young band that seems determined to continuously reach for greater heights.

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Covey – Call Home

There were a lot of songs that came out over 2017’s 12 months that occupied a similar space as Covey‘s “Call Home”: laid back, lovely, unassuming, and tinged with regret, loneliness, and despair. None of them wound up staying the way “Call Home” managed to stay; the song’s melodies and gorgeous chorus humming along and dominating unexpected spaces of memory when it could’ve just as easily rescinded into oblivion. Every return listen offered a new take and at some point, the song migrated from being a pleasant curiosity to something far more essential: one of the year’s best.

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IDLES – Mother

Recently given Music Video of the Year honors, IDLES‘ “Mother” also comes off as a ferocious head-turning effort when stripped from its hyper-intense visual accompaniment. Vocalist Joe Talbot repeats several mantras throughout “Mother” — written as a tortured tribute to his own late mother, whose portrait graces the record’s cover — each of them decrying two evils: one political, one sexual, both too frequently intertwined into a nightmarish whole.

Viciously opposed to a system that uses a weighted system to the benefit of the people who are afforded privilege, the song is a startling reminder of the seething anger and frustration of the people who oppose those systems. It’s a clarion call delivered with an excess of venom, using it’s hardcore leanings to drive a message home hard enough that the ramifications of our choices are left lingering in the smoke.

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Palehound – If You Met Her

A beacon of consistency over the past several years, news of a new Palehound record was welcome when it was first announced. The first few singles were packed full of the band’s usual tricks but then “If You Met Her” arrived and decimated everything. A hard-hitting look at how the loss of someone you know can affect your own perception of what it means to die, “If You Met Her” immediately registered as not just Palehound’s darkest effort but the project’s best as well.

It’s a gripping, grounded meditation on life itself and it’s delivered with such empathetic understanding that it’s nearly impossible to listen to the song in full without running through an avalanche of feeling. Anything that inspires that level of emotional response and visceral reaction is worth noting — and in the case of “If You Met Her”, it’s more than worth celebrating.

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Young Jesus – Feeling

A longtime staple of this site’s coverage, Young Jesus have continuously found exciting ways to evolve as a band in the face of a slew of obstacles that leave lesser bands stumbling. From nearly complete lineup shifts to a refocused experimentation to a relocation that took them from the upper Midwest to the West Coast. The band’s latest effort saw a quick self-release suddenly disappear only to be re-released shortly after by Saddle Creek.

All it takes to understand why such a revered label would take on the band is one listen to “Feeling”, a sprawling 10-minute opus which beautifully showcases the band’s remarkable range, guitarist/vocalist John Rossiter‘s penchant for blending memorable poetry with unforgettable melody, and a growing fearlessness. It’s a heart-stopping moment on what remains one of 2017’s most woefully overlooked records and reaffirms Young Jesus’ place as one of today’s best bands.

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The Magic Lantern – Holding Hands

Easily one of 2017’s outright loveliest moments, The Magic Lantern‘s “Holding Hands” casts a spellbinding magic all its own within its opening figures, as a yearning vocal is laid on a bed of gentle saxophone figurines. As the notes and vocals hold — with as much purpose as the imagined goal of the narration, no less — the song winds up with enough power from two core elements to elicit chills.

When the body of “Holding Hands” takes shape as the drums kick in, providing yet another one of 2017’s most perfectly-realized moments, it becomes abundantly clear that something miraculous is happening on the track. By the time it all winds to a ghostly close, “Holding Hands” has left a mark that deserves to be called upon fondly in the days to come. In all of it’s warmth and care, “Holding Hands” pushes forward from a simple greatness and achieves something far closer to transcendence.

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SONG OF THE YEAR:

Mount Eerie – Real Death

When Mount Eerie‘s “Real Death” first arrived, it was set to get a standalone feature. That post never arrived as I personally struggled with the decision to attempt to bring any sort of discourse to something so nakedly personal, which held true for A Crow Looked At Me (the record it’s from) as well. As time passed, that decision lingered, though it became increasingly difficult to listen to both the song and the record, famously written about the death of the songwriter’s wife and recorded in the studio she’d built in their house, on the instruments she left behind.

Even without being able to listen to the song, the memory of the song stayed as strongly as the feelings that accompanied the first listen (as well as the subsequent ones). It’s the sound of Phil Elverum tearing his own wounded heart out of his body to present to the world so that they can understand what kind of grief accompanies something so tragically world-shifting.

While every moment of “Real Death” is shattering, the weight of it becomes nearly unbearable when Elverum shifts the lyrics from oblique poetry to a hyper-specific narrative, recounting one moment of singular heartbreak that arrived with a package that has late wife had secretly ordered for their daughter. In that retelling, Elverum envisions his wife, living with the knowledge that her wife would be ending, thinking ahead and wanting to provide comfort for the people she loved.

Not only does that specific moment touch upon why Geneviève was someone he loved so fiercely but, in doing so, provides the song’s listeners a glimpse into her character as well. It effectively shifts the tonality of the record even further toward heartbreak by painting such an intimate portrait, making “Real Death” come across as even more unmistakably, painfully human. It’s a tribute to an artist that so many of us wish we knew and stands as a stark reminder to cherish the ones we do know while we can and to strive to match their gifts with our own.

By positing real-life implications alongside meaningful execution, “Real Death” became something much larger than the sum of its parts. In plumbing the depths of personal loss, Elverum’s Mount Eerie projected gifted us something hard to experience and impossible to forget. With any luck, it will steer us towards more effectively demonstrating our love when it can be appreciated by the people for which it’s intended.

Arriving fashionably late, the Heartbreaking Bravery year-end lists kick off in earnest with a celebration of the visual medium. There were incredibly strong visual efforts put forward by the people that could afford to have lavish budgets for just about any facet of their creative output (with Kendrick Lamar havinganespeciallyfruitfulyear) but this space wasn’t designed to celebrate those artists. Instead, the 17 selections featured below represent some of the finest works that flew by at a quieter pace, whether they came from storied veterans or exciting upstarts.

The format established last year will continue on this year, with one (or several) item designated the top spot and the remaining selections featured with no discernible ranking. Both the songs and albums list will follow this format as well. So, dive in, pick your poison, and try to guide yourself to a fate no worse than spending an hour or more playing the world’s most audacious interactive music video. Here are the 17 best music videos of 2017.

Hazel English – Fix

Throughout Hazel English‘s first few releases, the songwriter’s proved adept at crafting memorably beautiful clips and “Fix” stands proudly as English’s current best. A romantic, softly-lit tone poem “Fix” consists of little more than two people at an undefined stage in their relationship traversing some beautiful scenery together. Superbly directed and masterfully edited, “Fix” carries a subtle emotional resonance that propels it from being simply good to something masterful.

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Jay Som – The Bus Song

The artist responsible for last year’s Song of the Year returned to set 2017 on fire, breaking out in momentous fashion. The highlight of Jay Som‘s ascent came by way of this House of Nod-produced (and Michelle Zauner-directed) clip for “The Bus Song”. A joyous celebration of music, friendship, and the intertwining link between the two, “The Bus Song” is teeming with affection, wearing its heartfelt sincerity not on its sleeve but as a badge of honor, displayed proudly on its chest.

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Zebra Katz – Blk & Wht

One of the most haunting clips to come out of this decade, Zebra Katz‘s “Blk & Wht” is a harrowing recreation of the experiences its actors endured as refugees attempting to clear border security. As grim and stark as the song itself, “Blk & Wht” takes on a nightmarish sheen of realism that’s fully elevated thanks to the people involved in the project. It’s hypnotic, it’s terrifying, it’s unbelievably well-executed and transcends the form of music video and tips towards effective activism (something that’s incredibly hard to do without coming across as ham-fisted or cloying) by proving immensely hard to shake.

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Japanese Breakfast – The Body Is A Blade

Directing Jay Som’s “The Bus Song” wasn’t the only impressive feat Michelle Zauner completed this year. Zauner also collaborated with House of Nod again for this meditative clip tinged with tragedy for her own project, Japanese Breakfast. Beautifully combining archival footage from her past with the present state of being, “The Body Is A Blade” paints a complex and deeply human portrait. Empathetic, poetic, and laced with an abundance of warmth (in tonality, coloration, and emotion), “The Body Is A Blade” immediately stood out as one of the year’s best upon release and looks even stronger today.

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PUP – Old Wounds

It’s not often that this site prints obscenities but “Old Wounds” warrants the following: Jeremy Schaulin-Rioux is a fucking maniac. The director’s been instrumental in guiding PUP to claiming Music Video of the Year honors for 3 of the past 5 years and — with this entry included — has been included in the “Best Of” lists for the other two. Even with that track record, it would have been difficult to predict Schaulin-Rioux would go off the deep end to create a choose your own adventure video game masquerading as a music video in the form of 73 separate clips (many of them containing accessibly esoteric jokes from prominent music journalists) to form a cohesive whole for the shortest — and fiercest — song on the band’s triumphant sophomore effort The Dream Is Over. Click play and lose yourself to a rabbit hole that you’ll never want to leave. You’ve been warned.

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Fog Lake – Rattlesnake

Fog Lake‘s “Rattlesnake” was one of 2016’s most captivating songs and 2017 gifted it the kind of visual it so richly deserved. Lacking any sort of traditional narrative allowed for something far more thoughtful and moving, as the Forest Erwin-shot clip paid tribute to both environment and inhabitant in mesmerizing fashion. Tender, intuitive, and impalpable, “Rattlesnake” follows a filmic imprint that’s served auteurs like Terrence Malick and Shane Carruth well over their best works. That “Rattlesnake” would fit comfortably alongside their finest stretches is a minor miracle.

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Open Mike Eagle (ft. Sammus) – Hymnal

A bizarre satirization of televangelism, Open Mike Eagle‘s Sammus-featuring “Hymnal” stands out immediately. Comfortably drawing the viewers in from an easily-identifiable vantage point, “Hymnal” then proceeds to reveal itself as a meticulously-constructed and perfectly executed piece of oddball humor that falls more in line with Tim & Eric than just about any other clip that’s come out over the past few years. Boasting an incredible amount of specificity, “Hymnal” plays out like a fever dream that’s impossible to escape. Thankfully, for all of us, it’s wildly enjoyable and rewards investment tenfold.

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Julia Louise – Brat

One of a handful of videos on this list that mark a perfect distillation and representation of the artist responsible, Julia Louise‘s “Brat” also acts as an engaging introduction-at-large. Both a minimalist portrait of Louise and a vehicle to convey the frustrations and realizations of “Brat”, the clip finds life via honesty. A series of small, everyday moments stitched together through some compelling photography and anchored by a winsome central performance, “Brat” is a clever, tongue-in-cheek testament to Louise’s already formidable talents.

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Craig Finn – God In Chicago

Likely the biggest name on this list thanks to a position as the bandleader of The Hold Steady, Craig Finn has still found a way to slip through the cracks. Finn’s solo material, while exceptional, has gone largely unheralded. The spoken word, narrative-driven “God In Chicago” ranked as a career high before the video and the Kris Merc-directed clip elevated it even further on Finn’s considerably long list of achievements. A gorgeous illustration of a significant relationship doomed to slowly erode over time, every inch of “God In Chicago” should be felt in full by the millions of people who have lived that experience. It’s a miniature masterpiece.

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Pissed Jeans – The Bar Is Low

2017 proved to be intensely difficult for a cavalcade of reasons so any time anyone married a similar intensity to nonsensical joy provided a welcome escape. Enter: Pissed Jean‘s “The Bar Is Low”. Easily the furthest the band has embraced their buried comedic leanings, the clip earns its place here by virtue of the commitment everyone lends their performance as underachieving-but-desperately-trying gym rats. The deadpan stares, the intimidating glances, the absolute absurdity, and the off-the-charts aggression combine for the year’s most memorably fun clip.

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Anamon – Fast Car

While Pissed Jeans took the comedic escapism route, Anamon offered something a little more grounded: a hangout clip that was unwavering in its sincerity. Delivered with conviction, “Fast Car’ consists of nothing more than the band taking their dog on a day out to some open spots to relax and enjoy a beautiful day. The photography direction throughout “Fast Car” provides a sweeping sense of freedom that accompanies those exact trips. There are no stakes and any lingering fears wither in the presence of good company and picturesque scenery. Sometimes that’s all anyone needs and “Fast Car” captures that essential truth to perfection.

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The Last Dinosaur – Atoms

Comprised of nothing but discarded Super 8 footage gleaned from storage units and yard sales, “Atoms” quietly establishes a sense of history through its visuals as the song fixates on the full implications of mortality. When a project’s intent is to convey the entirety of life, it’s not often that it can actually manage to achieve something that resembles a complete understanding but The Last Dinosaur have carved out their spot in today’s music by subverting and/or challenging expectations. “Atoms” is a moving reminder of their penchant for coaxing out things that are as empathetic as they are beautiful.

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Protormartyr – A Private Understanding

Following a blueprint established and reinforced by some of cinema’s most antagonistic filmmakers, Protomartyr‘s clip for “A Private Understanding” manages to tap into the same type of sinister energy as its forebears. An inexplicably nerve-wracking sequence set at what appears to be either a meticulously designed retirement home or a grossly exquisite restaurant attempting to pass itself off as a “home experience”, “A Private Understanding” creates and mercilessly attacks that cognitive dissonance while employing film techniques popularized in Greek and Korean cinema. As hypnotic as it is baffling, “A Private Understanding” demands consideration long after its closing seconds.

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Deep State – Heavy Lunch

Deep State‘s kinetic clip for its equally kinetic “Heavy Lunch” follows an exceptionally minimalist formula: one person dances their way across the screen to a song. It’s a trope that’s reached a point of over-saturation in recent years and seems to have lost some of its merit. However, when one so exceptionally joyful and energetic comes into focus, its myriad pleasures are impossible to deny and the Ethan Payne-directed “Heavy Lunch” finds an abundance of meaning in its gleeful sprint.

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Palehound – If You Met Her

Crafting a clip for songs that register as immediate standouts for reasons of a clearly personal nature will always prove a challenge. When those challenges aren’t just met but diminished to the point of evaporation under the final product, that music video will likely stand the test of time as one of the greats. Palehound‘s “If You Met Her” — created by a group of teenagers attending Real to Reel Filmschool — finds itself in a position where it can already form a solid case for that type of longevity. While Kempner’s project allowed itself to be guided by the ghost of Heatmiser for the song itself, the video grapples with other spirits. The religious imagery, the sense of being stuck between haunting and being haunted, and the quiet, tragic desperation at the heart of both the song and the video render “If You Met Her” one of this decade’s finest efforts, on both counts.

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Charly Bliss – Westermarck

Over the course of this site’s existence, Charly Bliss emerged as a coverage staple. 2017 was the first year that afforded the band a true reckoning and they responded in kind, dropping one of the year’s best records, touring relentlessly (both as a headliner and opening up for enormous names), and releasing a string of fun music videos. No clip the band’s released can hold a candle to what they managed to create for “Westermarck“, which strips away any perceivable artifice in favor of something that served as an effective antidote to 2017’s grim climate. Pure, unbridled joy drives “Westermarck” to stratospheric heights, contagious in its own effervescence and committed to its convictions. A perfect distillation of the band’s identity and something to point to as a symbol of hope for the future. “Westermarck” deserves to be held up as an example of how to effectively translate the giddiest of emotions for years to come.

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MUSIC VIDEO OF THE YEAR:

IDLES – Mother

No video landed as hard, reflected the times as well, or demanded attention as well as the snarling behemoth that was IDLES‘ clip for “Mother”, a seething call to action against sexual predators and the conditions that allow a surprising percentage of them to be excused so easily. Not just one of the most hypnotic clips of this year but of this century, “Mother” contains little more than IDLES’ vocalist Joe Talbot smashing a table full of ceramics in front of a portrait of his deceased mother — whose ashes were slipped into the vinyl pressings of the band’s latest, -BRUTALISM — as he rails against an economically unjust system that essentially forces poverty onto the lower classes, heightening their exhaustion under the guise of production for the benefit of the upper class.

It’s a commanding performance and Talbot’s anger is palpable and barely containable as each individual piece gets smashed to bits as the camera lens nearly disintegrates under the weight of his piercing stare. Wearing an opened pink blazer and pink pants, the opening image of “Mother” is arresting enough but what carries it to the realms of being genuinely unforgettable is the clip’s closing moments where the song ends and the video continues in silence, Talbot making sure every last piece is hurtled towards a ground already covered in shards of plates, cups, and figurines.

When everything has suffered the brunt of Talbot’s wrath, he pauses, walks back to the poster of his mother hanging pointedly in the background, puts his hand to her lips and walks off camera. There is still smoke. There is still fire. And there, in that conclusion, as the anger lingers, is where “Mother” stakes its place as one of the great music videos of our time.

Well, it took an excessively long while but as of this post this site’s officially back on track and will be resuming its regular daily (or near-daily) schedule moving forward. Making things even sweeter is the incredible release of site favorites Young Jesus‘ self-titled record, which was teased back with the premiere of the “Green” music video a short while back.

Back to the subject at hand: Young Jesus (and, more specifically, Young Jesus). There are some bands that refuse to do anything but grow and push themselves to extend their comfort zone, heighten their ambitions, and take genuine risks. Young Jesus, for nearly a decade now, has been one of those acts. Young Jesus stands as the most definitive example of the band’s willingness to experiment while still retaining the melancholic pull that anchored their earlier works.

From the opening section of Young Jesus it becomes apparent that the band’s decided to fully embrace the noise sections that have become a defining characteristic of their spellbinding live show in recent years. These sections crop up in the opening trio of tracks — “Green”, “River”, and “Eddy” — and don’t really recede from the foreground throughout the rest of the record, spare for a few of Young Jesus‘ lightest moments. Impressively, these sections always sound more pointed than meandering, a testament to Young Jesus’ grip on dynamics, structure, and pace.

Guitarist/vocalist (and A Year’s Worth of Memories contributor) John Rossiter continues to turn in some of the more unexpectedly moving lyric sets while taking a small shift towards the poetic. As always, the band Rossiter has both partially retained and partially assembled are immensely impressive, navigating towering sections with ease and composing arrangements that seem very attuned to emotional response.

While the record may only run for 7 tracks, the band makes them count, particular in the final stretch of the record. “Desert” (formerly “Every Little Landscape”), “Feeling”, and “Storm” all rank among the year’s finest tracks. Each of them contain some of Rossiter’s finest work as a lyricist and Young Jesus’ most sprawling and absorbing work as a band.

Combined, these three tracks run for nearly half an hour and account for the bulk of the record, nearly doubling the combined time of the first four tracks. They also touch on virtually everything that’s ensured this band would be a staple of this site’s coverage. There’s a wellspring of genuine emotion driving these particular songs and it’s readily apparent, from the genuinely pained vocal delivery in the mid-section of “Feeling” to the aggressive bloodletting of a later section in “Storm” to the hushed introspection of “Desert”, every blow hits its mark.

By the time Young Jesus winds to a close it almost feels akin to a great piece of epic literature, with its oscillating emotions, sweeping narratives, and central ideology. It’s a massive work from a band that’s quietly become one of America’s best and it deserves to have a legacy in its wake. Both a bold step forward for a band deeply uninterested in repeating former motions and one of the years finest — and most fascinating — efforts. An essential addition to any music lover’s collection.

Listen to Young Jesus below — and watch a series of videos of the band playing live underneath the bandcamp player — and pick it up from the band here.

A lot has happened over the past month and the time to get this site back on track has nearly arrived. On a quick personal note: Heartbreaking Bravery is now based in Madison, WI and will likely expand on some forms of coverage — and feature selections — in the very near future. Before all of that can happen, it’s imperative that the events of the past month be taken into stock. We’re now arriving at a time where the AotY-caliber material descends like a waterfall and it can be overwhelming. To that end, this post will highlight all of the new songs, music videos, and records that made a sizable impression over the past month. A few more posts will follow but if anyone’s looking for a wide-ranging variety of outstanding new music, it’d be best to bookmark this page and spend hours clicking around. It’ll be worth the time.